1) Band was formed in 2000, in Berkeley, CA. At early shows members wore matching canvas jumpsuits — possible Marxist/Maoist messaging(?).

2) According to Source A, a family relation of one band member, prior to being signed to a publishing deal with Sony/ATV in 2005, one or both band members routinely “whined” about the unfairness of the music industry. Gripes included: “How is it possible that fucking OKGO are on MTV?”, “How the fuck are The Strokes a real band?”, and “What the fuck is supposed to be good about Interpol?” Presumption of parity with hierarchically ascendant bands suggests communist schematicism.

4) Source D, a promoter in Vienna, recounts that after a festival appearance there in 2017, the band returned to a hotel provided by source and “shredded a Bible” found in a drawer. This was confirmed by [NAME REDACTED] at [HOTEL NAME REDACTED].

5) New album “Megaplex” was recorded in New York City with producer Max Hart, a longtime collaborator. MH played keyboards with the band from 2007-2009; subsequently moved to Katy Perry’s band; subsequently to Melissa Etheridge’s. Also produced 2016’s “Helter Seltzer.” MH’s father was a union organizer in Northern California/Sacramento area; MH likely Trotskyite Marxist.

6) Source A says that when he was 19, Chris Cain stole her television and sold it to pay for a “Nintendo game” which he had been disallowed by source to possess. (Subversion of authority, criminal sociopathy, video game addiction.)

7) Source F, a producer at The Late Show with David Letterman, says that after the band’s second of three appearances, a pair of “shitty underwear” was found in a garbage can in their dressing room.

8) Internet-archived schedules for live events reveal visits — often extended — to over thirty countries, only fourteen NATO. “Touring” appearances may cover a pattern of seditious campaigning on behalf of various local insurgent interests.

9) International festivals where the band has performed include Glastonbury, Coachella, Reading & Leeds, Rock am Ring, Benicassim, Chasm (nudist), Beaches II: No Fear, Was Ist Himmel? (BDSM), Rounders (poker tournament based on the film), Gravid Aura (impregnation), and V Festival.

10) Source B, a member of the band’s crew for several years, attests that members rarely if ever drink flat water, strongly preferring carbonated. Collectivist implications of deliberate ingestion and subsumption of large quantities of bubbles are clear. Whether expressed inadvertently as pathology of indoctrinated ideas, or deliberately as a clandestine rebuke of capitalist anti-agency (per Marx), is less clear.

Conclusion

We Are Scientists’ anonymity from this agency has been overlong, and to potentially significant harm. Recommend concerted campaign to seed local and national media with adulatory praise of their every musical activity in order to reduce countercultural credibility & political influence. ————————END/

Since the summer of 2014 and the release of Careers, which Stereogum dubbed an “exceptional shoegaze-pop debut album,” the main driving force behind Beverly has been Drew Citron. While Beverly began as a recording project between two friends, The Blue Swell out May 6th, 2016 on Kanine Records represents a fresh start for the band.

What do you do when your original writing partner up and moves to Los Angeles upon album release? You quickly form a new live touring band. And when you live in Bushwick in 2014 and you build and run indie rock venue Alphaville, that’s easy to do. You even turn your two person project into a full blown rock band with energetic live shows. Then, you tour - across America and Europe - up and down the east coast and add in a few trips to the midwest. All the while, you never stop writing and collaborating.

On The Blue Swell, Citron’s main collaborator is longtime tour mate and noise pop producer Scott Rosenthal (The Beets, Crystal Stilts), with Kip Berman (The Pains of Being Pure at Heart) lending co-writing talents to Victoria. Careers is acclaimed for its “fuzzed distortion and melodic sugar” (Rolling Stone) and its variety, with Pitchfork noting how it “careens from venomous, angry punk to jangly, mild lust to blown-out emotional hangover.” While you’ll still find reverb, catchy hooks and a track or two like Bulldozer or South Collins that could perhaps fit into the debut, the new album takes a less aggressive and more melodic turn.

Lead single Crooked Cop, a dreamy allegory about deceit and confusion, sounds like a female fronted Teenage Fanclub. A direct hit like Contact is juxtaposed with the pretty and more leisurely The Smokey Pines.

Citron says, “It wasn’t necessarily a conscious decision to create- or not create - a new sound, but changes were inevitable, and we’re working harder than ever to get at what we love about good songs, what we can do with them, and how they can connect to people.”

The new album is, in some respects, bolder, more playful yet more grounded. The Blue Swell was not conceived by two friends taking a piss on the road; it was lovingly crafted by a band putting down roots. It marks a new beginning for Beverly.